But I know what I like...

When I was a kid, back in the 70s, I didn't notice the art in the comics I read. It was probably mostly Kirby and Buscema, given that I was a Marvel reader, but I didn't think much about it, paying attention to the story instead. I might have noticed if the art was particularly bad, but other than that it was just there to illustrate the stories. I was, and am, no artist; I was, and am, no art expert. At some point, however, when a particular artist was drawing one of the books I read, I noticed. That point would have been when George Perez took over The Avengers.

Not that there was anything wrong with the artists I'd seen earlier. I've since developed a greater appreciation for John Buscema, Don Heck and George Tuska, and I much prefer Kirby's earlier (if you can call the 70s "earlier" when you're talking about Kirby) to his later massive cosmic stuff, but it was Perez who got me to notice the art as something separate from the story--something worth noticing on its own. Not that it was intrusive in any way, just that it was so damn gorgeous! I started to look at the pictures that went with the words instead of simply using them as reference. I remember just staring at the art after I'd read the comic, something I'd never done before. (And yes, I'm still thrilled when I book I read has Perez art. Although I don't seek out books because he's the artist. Nor do I often seek them out because of the writer, although that has happened on occasion.)

After that, I started to notice the art more often. In Legion of Superheroes I thought Dave Cockrum was awesome, and later was impressed with the facial detail of Mike Grell (although even then I was less impressed with his heroes below the neck). I also remember the startling stylistic jump when LSH changed artists from James Sherman to Joe Staton.

Cockrum again on X-Men, back when there was still just the one X-title. When John Byrne started drawing the X-Men (and I know what folks say about him, but back then who knew?) I noticed that as well, although when he took over the Fantastic Four later I was less impressed.

Jim Starlin was enough to get me to buy Marvel's Captain Marvel despite my lack of interest in the cosmic thing. (Also despite his tendency to draw characters in oddly crouching poses, although that could have been due to lack of gravity...)

Now? 20+ years later? Well, the art on the whole has improved, although I'm not sure I notice it as much now as when I was younger, perhaps because the notable is less exceptional. I do consistently like Steve Epting on Captain America, although his faces are sometimes a bit iffy, by which I mean they sometimes change a bit panel to panel, although they are always expressive and I have no real complaint. Probably my favorite currently is Bryan Hitch, who I love on The Ultimates and who made some of the nicest-looking issues of JLA I've seen.

What I like?

Realism, apparently.

Differentiated faces are important, expressive faces are important. Characters should look like themselves from panel to panel. Characters should have more than one expression and these should be used appropriately.

All heroes not sharing the same body type is important, especially for female characters.

Minimal T&A, although a little gratuitous cheesecake (or beefcake!) does not offend, particularly if there's some of each.

Characters who fight should be well-covered unless invulnerable. If you might be thrown through a plate glass window at some point, you don't want a lot of bare skin exposed.

Minimal non-functional dramatic posing.

Minimal body-builder posing when the character is just standing around doing nothing. Even champion body-builders don't flex when they're washing dishes or having coffee with a friend. If they're not using the muscles, the arms shouldn't be all veiny.

I seem to pay less attention to background detail, although I do note it when it's missing. (And I'm always pleased to see a messy room, or one that has some individual detail, in a hero's apartment.)

Content-wise, I like the downtime sequences of the story to be as well done as the action sequences.

Bad art distracts. Good art supports. I have never quit a book because of the art, but I can see it happening. I still think that the story is most important. I buy comics for the story. I'll enjoy them more (and possibly more likely to keep them on the pull list when the budget indicates a cut is advisable) if the art is also good, but if the story is bad I'll have dropped it long before.